No Andrè, I have not forgotten Hamatsu. I just subscribe to the Yamaha America after touch priority way of going about things. Whilst everything does indeed start with touching the key, it does not end with some impossible to achieve in the first place 10,0001 mm key dip. There are just too many other factors involved. I'm sticking to my last post here. Precise regulation of a fine instrument will yield very slight variations in key dip if ones objective is an even as possible aftertouch... both sensation wise and and measurable wize. I understand completely however why those of you who wish to float after touch a bit instead do so. In any case the resulting differences are very small. It is my experience however that a pianist will notice differences in aftertouch before they will notice differences in key dip. Cheers RicB I am sorry pal, have you forgotten the thorough Yamaha key dip lessons? For me anyway there is a golden rule : Everything starts with touching a key. The output depends on the input. Give any decent instrument a really good and precise key dip and regulation and the result will almost always be very nice and very satisfying. Aftertouch is the last regulation procedure and I like that the most. because it shows whether I have done a thorough regulation, or not. Aftertouch also shows that in some places the action is willing to 'give more', and in other places less. The beauty of this is that it all depends on the making of a superb key dip/key frame regulation, which I consider an art in itself. another euro cent friendly greetings from André Oorebeek
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